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Vibhishana was Ravana’s youngest brother, endowed with great learning and very unlike his brothers and sister. In spite of being born in the rakshasa clan, he stood by dharma and Brahma granted him immortality and the ability to wield the brahmastra. He married Shaileesha’s daughter Sarama. Observing that Ravana’s evil ways were only growing, he tried his best to put some sense into him. Being a clever statesman, he warded off Ravana’s attempt to kill Hanuman who had come as Rama’s messenger. Later when Hanuman went about burning Lanka, it was Sita and Vibhishana who remained unhurt. Vibhishana again requested Ravana to return Sita to SriRama and make peace with him. When nothing could change Ravana’s mind, he gave up everything including his wife and children and left Lanka. He pledged himself in support of Sri Rama. Everyone in Rama’s army doubted his intentions but it was Hanuman who rightly advised Rama to take in Vibhishana as he believed that his intentions were genuine. He helped Rama with constructive suggestions, gave him timely advice and warning, and was able to recognize Ravana’s spies who had mingled with the vanaras. He invited Indrajit’s wrath when the latter saw him guiding Lakshmana. In the end, when Ravana lay dead on the battlefield, Vibhishana was overcome with grief. He was torn between his duty in performing his brother’s last rites and denying it on the grounds that Ravana had indulged in sinful acts. It was Rama who convinced him to go ahead with it in order to send his brother to heaven. Sri Rama then asked Lakshmana to crown Vibhishana king of Lanka. Our other books here can be searched using #BharathaSamskruthiPrakashana
Compared to the western epics, the Ramayana and Mahabharata are more complete story of Hindu, religious, cultural and social imagination and more exact narration of evolutionary rise of man. In this book, William Buck has succeeded better than anyone else in conveying the spirit of the original.The task of presenting a faithful image of the original text, its metaphysical nuances as well as its chronological sequence the world`s largest epic in a small book is a stupendous task.Mainly as a narration, the version of William Buck will serve as an interesting and complete tale to the English speaking reader. Valmiki was called the Adikavi or first poet of Sanskrit literature and some of his remarkable talent shines forth in the English rendering. The reader will find pleasure in reading it aloud to himself or the others.
As the title indicates, this book is a critical study of an Indian epic, ëThe Ramayanaí. It proceeds in the same order as that of Sanskrit original consisting of : Bala kanda, Ayodhya kanda, Aranya kanda, Kishkindha kanda, Sundara kanda, Yuddha kanda and Uttara kanda. While Valmikiís Ramayana is composed of about 24,000 slokas (verses), ëRamayana the Poisonous Treeí consists of 16 stories, long and short, accompanied by 11 ëlinksí (narratives that ëlinkí the stories) and 504 foot-notes that show evidence from the Sanskrit original in support of the critique. Besides the main components of the text, this book has a long ëPrefaceí discussing the social essence of the epic in the context of history of evolution of human society from the ancient times to the modern times. The book also offers a critical review of the works of ësome earlier critics of Ramayanaí. The authoress describes Ramayana as a Poisonous Tree because it defends the autocratic rule of the kings against the people, their imperial expansion by invading other weak kingdoms, exploitation of the poor by the rich, oppression of lower castes by upper castes, aggression of the civilized non-tribal communities against primitive tribal communities, male chauvinism against women, superstitious beliefs against the rational thinking, fathersí domination over sons, elder brothersí superiority over younger brothers and so on. She substantiated her arguments by providing hundreds of foot notes from the Sanskrit original. She characterizes the culture of Ramayana as predominantly ëfeudalí in nature with an admixture of remnants of primitive ëtribalí culture. The book, it is hoped, will be of interest to both academic and non-academic circles. It is relevant to the students, teachers and researchers who are connected with such disciplines as South Asian Studies, Cultural Studies, Comparative Literature, Comparative Religions, Indology, Literary Criticism and so on. It is also relevant to the social and political activists who would like to disseminate ëprogressiveí ideas among the people who are subjected to various forms of inequality: Class, Caste, Gender, Race, Ethnicity. Ranganayakamma (born 1939) is a writer of novels, stories and essays in Telugu. She has published about 60 books.
This book discusses Ravanisation: the revitalisation of Ravana among Sinhalese Buddhists in post-war (after 2009) Sri Lanka. The Hindu Ramayana generally portrays Ravana as a cruel king. How and why, then, has Ravana gained the interest of Sinhalese Buddhists? This study takes an ethnographic perspective to answer these questions. The book discusses multiple Ravana representations that have emerged at an urban Buddhist site (the Sri Devram Maha Viharaya) and a rural site (Lakegala), and discloses how Ravanisation relates to Sinhalese Buddhist ethno-nationalism. In addition, the material, ritual, and spatial perspectives offer unique insights in the personal and local relevance of Ravana. Dr. Deborah de Koning holds a PhD degree in Religious Studies (Tilburg University, research funded by the Dutch Research Council) and currently works as lecturer Intercultural Communication and Hinduism and Buddhism at the Christian University of Applied Sciences (CHE, The Netherlands).
"Prepare for an exhilarating journey through the untold twists and hidden perspectives of the Ramayana. This epic saga glorifies the journey of Shri Rama, "The Greatest Of All Time". But what if Ravana, often seen as the ultimate villain, was misunderstood? As we peel back the layers of a hidden conspiracy, the true Untold Villain of the Ramayana emerges, revealing a story far more complex than ever imagined filled with Twist till end. Also, witness the awe-inspiring saga of Mahavir Panchmukhi Hanuman, a tale long overshadowed, now brought to light in all its grandeur
God, Goddess and Guru are the primary forms of divinity presented in this treasure of three yogic scriptures. Translations and commentaries on each scripture verse clarify the unique and powerful philosophy of yoga and help open your heart to the divine. Text contains Sanskrit text, translations and commentaries on Pratyabhijna Hridayam, Nirvanashatkam and Hanuman Chalisa along with glossary and index.
A compilation of love stories and poems from the classical literature and folklore of India Set in regions of great natural beauty where Kamadeva, the god of love, picks his victims with consummate ease, these stories and lyrics celebrate the myriad aspects of love. In addition to relatively well-known works like Kalidasa's Meghadutam and Prince Ilango Adigal's Shilappadikaram, the collection features lesser-known writers of ancient India like Damodaragupta (eighth century AD), whose 'Loves of Haralata and Dundarasena' is about a high-born man's doomed affair with a courtesan; Janna (twelfth century), whose Tale of the Glory-Bearer is extracted here for the story of a queen who betrays her handsome husband for a mahout, reputed to be the ugliest man in the kingdom; and the Sanskrit poets Amaru and Mayaru (seventh century), whose lyrics display an astonishing perspective on the tenderness, the fierce passion and the playful savagery of physical love. Also featured are charming stories of Hindu gods and goddesses in love, and nineteenth-century retellings of folk tales from different regions of the country like Kashmir, Punjab, Maharashtra and Rajasthan. Both passionate and sensuous in its content, this book is sure to appeal to the romantic in all of us.
AN EASY-TO-UNDERSTAND BUT LAYERED INTRODUCTION TO LORD RAM AS A GOD AND AS A MAN The Ramcharitmanas is undoubtedly one of the greatest lyrical compositions in Hindi literature. Writing in the sixteenth century, Tulsidas chose to pen verses in Awadhi rather than Sanskrit, thus breaking with literary tradition and importantly making Lord Ram more relatable to the layperson. Pavan K. Varma, author of the best-selling Adi Shankaracharya: Hinduism’s Greatest Thinker has selected some of the most evocative stanzas—offering a succinct commentary for each—that capture the very core of the original. While centring the philosophical aspect of the Ramcharitmanas—the immutability of the soul over the merely corporeal; the transience of worldly pleasures; the placing of wisdom above knowledge—The Greatest Ode to Lord Ram describes a devoted son, a loving sibling, a committed lover, an ideal ruler and also a human, almost bereft of divinity. Indeed, Ram is a god and a man; he is comprehensible. Tulsidas’s seminal work employs a unique poetic linguistic tool that unravels even the most profound concepts with utmost simplicity, blending philosophy with breath taking verse. Varma’s compelling new selection and commentary achieves this effect by combining the aesthetics, romance and imagery of the original work with the unadulterated spirituality that sparkles through the conduct of a great god.